ABSTRACTTo date, neo-Latin studies have been hardly concerned with the nineteenth century, let alone the twentieth century. It would seem that literature written in Latin had completely lost its significance. However, recent research has shown that Latin verses were still quantitatively and qualitatively important, even if they no longer enjoyed the same popularity as in previous centuries. This article is a synthesis of what we know about neo-Latin literature in nineteenth-century Europe. The first section (...) discusses the question of its quantitative and qualitative significance. Section 2 deals with the specific features of the neo-Latin literature in the nineteenth century. Section 3 presents the situation in Germany in order to give a more precise idea of the phenomenon. The aim of this article is to provide an impetus for further investigation in the field and to cast light on a facet of the nineteenth century that has long been forgotten. (shrink)

Although the works of the authors of the Golden Age of Latin Literature play an important formative role for Early Modern philosophers, their influence in Early Modern thought is, nowadays, rarely studied. Trying to bring this topic to light once again and following the seminal works of Kajanto (1979), Proietti (1985) and Akkerman (1985), I will target Spinoza’s Latin sources in order to analyze their place in his philosophy. On those grounds, I will offer an overview of (...) the problems of the reception of classical literature in Early Modernity and then dwell on the particular case of Ovid and Spinoza. The present paper will argue that although Spinoza’s references to Ovid fill a rhetorical purpose as suggested by the existing literature, these mentions have a prior philosophical motivation. That is, the references in the Ethics are not merely illustrative; instead, they indicate that Spinoza acknowledges Ovid’s beliefs about human experiences and deliberately elaborates on Ovid’s view to construct and defend his own theses. To this end, the paper will analyze some citations mapped by Proietti (1985) and add a new one in an attempt to enlarge the list of places and topics that merit further investigation. To conclude, I will point out how the references to Ovid are part of Spinoza’s own defense of the powers of imagination. (shrink)

The poets and prose-writers of Greece and Rome were acutely conscious of their literary heritage. They expressed this consciousness in the regularity with which, in their writings, they imitated and alluded to the great authors who had preceded them. Such imitation was generally not regarded as plagiarism but as essential to the creation of a new literary work: imitating one's predecessors was in no way incompatible with originality or progress. These views were not peculiar to the writers of Greece and (...) Rome but were adopted by many others who have written in the 'classical tradition' right up to modern times. Creative Imitation and Latin Literature is an exploration of this concept of imitation. The contributors analyse selected passages from various authors - Greek, Latin and English - in order to demonstrate how Latin authors created new works of art by imitating earlier passages of literature. (shrink)

Examines interrelated topics in Medieval and Renaissance Latin literature: the status of women as writers, the status of women as rhetorical figures, and the status of women in society from the fifth to the early seventeenth century.

Published just after the Second World War, European Literature and the Latin Middle Ages is a sweeping exploration of the remarkable continuity of European literature across time and place, from the classical era up to the early nineteenth century, and from the Italian peninsula to the British Isles. In what T. S. Eliot called a "magnificent" book, Ernst Robert Curtius establishes medieval Latin literature as the vital transition between the literature of antiquity and the (...) vernacular literatures of later centuries. The result is nothing less than a masterful synthesis of European literature from Homer to Goethe. European Literature and the Latin Middle Ages is a monumental work of literary scholarship. In a new introduction, Colin Burrow provides critical insights into Curtius's life and ideas and highlights the distinctive importance of this wonderful book. (shrink)

Blockhead or or Baldhead? Petron. Sat. 39. 12: ‘in Aquario copones et cucurbitae’. Apul.Met. I. 15: ‘nos cucurbitae caput non habemus ut pro te moriamur’. Cucurbita in its literal use is the name of many varieties of the numerous family of Cucurbitaceae, as one may learn, e.g. from Plin. Nat. Hist. xix. It is also the name of the cupping instrument called by Juvenal, xiv. 58, uentosa cucurbita, for which see Mayor's note ad loc. For other metaphorical uses of the (...) name, Forcellini and the Thes. Ling. Lat. cite only the two passages quoted above; of these two, Lewis and Short cite only the former. Lexicographers and editors,1 comparing the one passage with the other, concur in the view that the cucurbita is the symbol of stupidity, and that a stupid man may be called a cucurbita, as in Petronius, or be said cucurbitae caput habere, as in Apuleius. At first sight their interpretation of the Apuleian phrase is plausible, for it makes tolerable sense in the context and appears to be supported by such modern expressions as ‘pumpkin-head’ and Kürbiskopf and κεχλι κολοκνθνιον, all of which liken the head of a stupid man to a pumpkin or other gourd which, though bearing some resemblance to a human head, encloses not a brain but an insensate mass of pulp and seeds. But ‘to have a pumpkin-head’ and ‘to be a pumpkin’ are prima facie very different, for the latter equates the man himself with the cucurbita, whereas it is only qua substitute for a head that the cucurbita can typify stupidity; and when it is further observed that in the Petronian passage cucurbitae so interpreted accords ill with the context, it becomes clear that some other explanation must be sought. (shrink)

This volume covers a relatively short span of time, rather less than the first three-quarters of the first century BC; but it was an age of profoundly important developments, with enduring consequences for the subsequent history of Latin literature. Original and innovative in widely differing ways as was the work of Lucretius, Sallust and Caesar in particular, the scene is dominated, historically, by two figures: Cicero and Catullus. Cicero was a politician and a man of affairs as well (...) as a man of latters, whose vast literary output reflects a range of intellectual interests unparalleled among surviving Roman writers; creator of a prose style the Quintilian regarded as synonymous with eloquence itself; and better known to us, from his letters, as a human being, than any other figure from classical antiquity. Catullus was a poet, single-mindedly devoted to fostering the tradition of learned Alexandrian poetry at Rome; the author of one slender volume of verse that has attracted more critical attention in proportion to its size than any other ancient poetry-book; and the lover of Lesbia. In these chapters it is shown how these, and other, Roman writers of genius continued the process of transforming their traditional Greek models into new and vigorous Latin forms, with lasting effects for oratory, historiography, and the higher genres of poetry. (shrink)

In the third century BC Rome embarked on the expansion which was ultimately to leave her mistress of the Mediterranean world. As part of that expansion a national literature arose, springing from the union of native linguistic energy with Greek literary forms. Shortly after the middle of the century the first Latin play took the stage; by 100 BC most of the important genres invented by the Greeks - epic, tragedy, comedy, historiography, oratory - were solidly established in (...) their adoptive Roman forms, and a new genre, satire, had been born. The chapters in this volume describe and analyse the process of creative adaptation which shaped the beginnings of Latin literature and laid the foundations for its future development as one of the great literatures of the world. Essential background is provided by introductory chapters on readers and critics in the Roman world. In these are described the form of the books themselves and the conditions under which they were produced, circulated and read. The whole volume offers an indispensable introduction to the understanding of the nature and quality of Latin literature. (shrink)

The contributions in this volume analyze different moments of intercultural negotiation within the history of Latin literature and look into the dynamic process of appropriation that guarantees its continuity.

For forty years, American priest and friar Reginald Foster, O.C.D., worked in the Latin Letters office of the Roman Curia’s Secretary of State in Vatican City. As Latinist of four popes, he soon emerged as an internationally recognized authority on the Latin language—some have said, the internationally recognized authority, consulted by scholars, priests, and laymen worldwide. In 1986, he began teaching an annual summer Latin course that attracted advanced students and professors from around the globe. This volume (...) gathers contributions from some of his many students in honor of his enduring influence and achievements. Its chapters explore a wide range of linguistic and literary evidence from antiquity to the present day in a variety of theoretical perspectives. If the motivation for putting together this collection has been to reflect (and reflect upon) Foster’s influences on Latin scholarship and pedagogy, its title alludes—via the medieval folk etymology of the word labyrinthus (“quasi labor intus”)—to its theme: ambiguity in Latin literature. (shrink)

In the two centuries covered by this volume, from about AD 250 to 450, the Roman Empire suffered a period of chaos followed by drastic administrative and military reorganization. Simultaneously Christianity emerged as a new religious force, to be first recognized by Constantine and then eventually to become the official religion of the Roman state. The old pagan culture continued to provide the basis for education and the staple literary diet of the leisured classes; but it now had perforce to (...) coexist and indeed to compete with a new, specifically Christian-oriented literature. These and associated developments are reflected in the Latin books of the period. Of the traditional forms and genres, some atrophied, some were transformed and invigorated; and yet others, such as autobiography in something like the modern sense, emerged in response to the pressures of the times. Professor Browning's masterly and comprehensive survey is mostly concerned with pagan literature, but takes into account Christian texts written in classical forms and directed at classically educated readers. The volume ends with a chapter on Apuleius by Professor Walsh, followed by a brief Epilogue from the same hand, sketching the part played by classical studies in the formation of the Latin literature of the Middle Ages. (shrink)

'Perfection is finality; finality is death'. The poets and prose writers of the first and early second centuries AD were not deterred by the towering stature of their Augustan predecessors from attempting new and often brilliant variations on the now traditional themes and genres. The so-called 'Silver' Age of Latin literature has tended to be characterized in terms of dismissive or question- begging stereotypes - 'decadent', 'rhetorical', 'baroque', 'mannerist' - as a substitute for close critical argument. From the (...) sympathetic but searching appraisals in this volume the best writers of the age - Lucan, Seneca, Statius, Juvenal, Tacitus - emerge as men having something important to say and not merely technicians preoccupied with the most extravagant or paradoxical way of saying it. Complementary to these central figures as giving the age its special character and atmosphere are the minor poets, the satirists, the scholars and rhetoricians, the lesser historians, epistolographers and technical writers, whose varied activity provides the background to the main developments. The whole offers a detailed portrait of the literary interests of an age that was of necessity becoming increasingly more conscious of the past and of the problems of coping with its cultural heritage. (shrink)

The sixty years between 43 BC, when Cicero was assassinated, and AD 17, when Ovid died in exile and disgrace, saw an unexampled explosion of literary creativity in Rome. Fresh ground was broken in almost every existing genre, and a new kind of specifically Roman poetry, the personal love-elegy, was born, flourished, and succumbed to its own success. Latin literature now became, in the familiar modern sense of the word, classical: a balanced fusion of what was best and (...) most stimulating in earlier Greek and Roman writing, charged with new and original life by the individual genius of, most particularly, Virgil, Horace and Ovid. Augustan literature, conventionally viewed as the expression in writing of the age itself - political and social stability reflected in artistic equilibrium - turns out on a close and critical reading to have been subject to the same stresses and strains as the society in and for which it was produced. In appraising the monumental literary achievements of the age the underlying tensions and contradictions are not ignored. The critical discussions in this volume do full justice to the complexity and subtlety of the literature itself. (shrink)